Postcolonial translation studies

This paper analyses the role of translingual practices in reshaping language, dialect, and identity within an Afrofuturistic fantasy framework, specifically through "The Magical Negro" by Nnedi Okorafor. Translingualism encourages a transition from these structuralist presuppositions about language to more fluid and extensive contextual and integrated strategies. This research aims to explore the use of translingual aspects in an Afrofuturistic fantasy plot by analyzing the elements of language, dialect, and impact. Changing the trope of the standard fantasy language, which often incorporates dominant ideologies and regional dialects, as well as the relationship between characters' accents and their socio-linguistic backgrounds, helps to subvert the clichés of the series. The theoretical framework included Vershawn A. Young's "code-meshing", where different languages or dialects are used simultaneously in speech or writing. Li Wei develops translanguaging as a practical theory of language, incorporating both sociocultural and cognitive approaches. Using Geneva Smitherman's concept of "Black sociolinguist reality," this article traces the concept of Afrofuturism through speculative fiction as a rhetorical praxis that recognizes Black language practices as processes of invention unique to Black linguistics, constructing the multitudinous nature of Blackness in the future. This paper emphasises the question of power concerning how language, identity, and interaction with people from another culture are interrelated. It thus makes a reader think about the role language plays in the change of
social relations and cultural identification in ‘The Magical Negro’ written by
Nnedi Okorafor.

This paper analyses the role of translingual practices in reshaping language, dialect, and identity within an Afrofuturistic fantasy framework, specifically through "The Magical Negro" by Nnedi Okorafor. Translingualism encourages a transition from these structuralist presuppositions about language to more fluid and extensive contextual and integrated strategies. This research aims to explore the use of translingual aspects in an Afrofuturistic fantasy plot by analyzing the elements of language, dialect, and impact. Changing the trope of the standard fantasy language, which often incorporates dominant ideologies and regional dialects, as well as the relationship between characters' accents and their socio-linguistic backgrounds, helps to subvert the clichés of the series. The theoretical framework included Vershawn A. Young's "code-meshing", where different languages or dialects are used simultaneously in speech or writing. Li Wei develops translanguaging as a practical theory of language, incorporating both sociocultural and cognitive approaches. Using Geneva Smitherman's concept of "Black sociolinguist reality," this article traces the concept of Afrofuturism through speculative fiction as a rhetorical praxis that recognizes Black language practices as processes of invention unique to Black linguistics, constructing the multitudinous nature of Blackness in the future. This paper emphasises the question of power concerning how language, identity, and interaction with people from another culture are interrelated. It

Through a feminist postcolonial theoretical lens, this article puts forth a new reading of Mohamed Mrabet's novella The Big Mirror. Written by a male Moroccan writer in 1977, a short while after Morocco's emergence from colonial rule, The Big Mirror has yet to be read and scrutinized from a gendercritical perspective. Given that post-independence is a period so critical for the development of gender relations in Morocco, literary works featuring female characters as central figures to the plot and the themes present an opportunity to extract knowledge about female representation and agency in that particular context. This article argues that The Big Mirror, like many other narrative texts written in this period, fails to represent the female character in an unideological and gender-neutral way. Through the use of the Spivakian theory of the subaltern and the impossibility of her representation, this article argues that by claiming to speak for the female character, this narrative effectively silences her and effaces her agency. As a result, the female character becomes strongly inscribed in a masculinist discourse that capitalizes on the literary trope of the madwoman as a means to further occlude female agency rather than promoting it.

Indian cinema has rarely represented animals and in these limited representations, animals are relegated into the background as props. Though there are some exceptions in which animals are projected as characters, the film textures fail to assimilate their exposures and experiences. Against this backdrop, S. S. Rajamouli's Eega, translated The Fly, is analysed and examined how it deviates from the usual anthropocentric representation, but, at the same time, adheres to it in most fundamental aspects. This paper problematizes the framework of human/animal divide in which humans entertain a superior position by distancing themselves from their animality. Thus, the paper analyzes how the filmic texture destabilizes the narratives which either put the human and the animal categories in a dichotomous relation or establish human superiority over the animal. In this sense, this study inquires into various ways of border/margin intersection in the animal and the human ontologies.

Jhumpa Lahiri's novel The Namesake (2003) is a culture-oriented, more precisely, a Bengali diasporic culture-oriented novel. As a diasporic novel it represents the diasporic themes like displaced, dislocated and deterritorised feelings of the first generation expatriates like Ashima Ganguli, the female protagonist of the novel; assimilated, translational and transcultural tendency among the diasporic people, especially among the second generation immigrants in the novel like Gogol Ganguli, Sonali Ganguli and Moushumi Mazoomdar; a feeling of nostalgia towards the natal/imaginary homeland by the first generation expatriates like Ashima Ganguli; the community feeling among the diasporic people; the familial, human relationships within a diasporic family in a diasporic land and other traits. Ashima Ganguli is moored in diasporic land with her feelings of rootlessness/uprooting/re-rooting/tracking root and also finds routes to discover her at home in many homes in the world. The Bengali diasporic cultures are amalgamated dexterously in the texture of the novel. Lahiri's The Namesake was adapted as a film in 2006, released on March 9, 2007, following screenings at film festivals in Toronto and New York City. The film is directed by an Indian born filmmaker Mira Nair, living in the US. Sooni Taraporevala adapted the novel into a screenplay. The film received positive reviews/acclaims from American critics and won 'Love is Folly International Film Festival' (Bulgaria)-"Golden Aphrodite"-Mira Nair.' It was also nominated for many countries' film festivals. In his seminal paper "On Linguistic Aspects of Translation", Roman Jakobson describes inter-semiotic translation as one of the three possible types of translation. According to his explanation unlike intra-lingual translation which is related to the signs of one language only and inter-lingual translation which occurs between two different languages, inter-semiotic translation involves translation between two different media, as for example, verbal medium into musical medium or verbal medium into cinematographic medium, and so on (114). Mira Nair's The Namesake (2007) uses immigrants' experiences to explore the meaning of identity. The film follows the Ganguli couple from India into the American family they create. Mira Nair herself a diasporic Indian has dealt with similar themes in earlier films, notably 1991's Mississippi Masala, an interracial romance set in the Deep South. About adaptation of a novel/text into a film version, P. Torop writes: "The main difference between film and literary work lies in the fact that literature is fixed in a written form, while in a film the image (representation) is supported by the sound, in form of music or words" (300). Torop's concern here is the transfer of the word into the image. In film adaptation, the former is used rarely and dialogue is given much space. A film version is composed of different elements, such as dialogue, setting, possible voice-overs, musical score, editing, framing, lighting, coloration, close-up (or not), perspective, and in the case of human voice, also the timbre and the intonation patterns. For this film translation of a verbal text through inter-semiotic translation, a rational subdivision of the original is inevitable for deciding to what elements of the film composition to entrust the translation of given stylistic or narratological elements of the prototext. The cultural elements present in Lahiri's The Namesake are different Bengali sangeet(s)/songs, some taboos imposed on Bengali Hindu house-wife, maintaining Bengali

Selon la thèse de Platon qui attribue la création des mots à la conjonction des sons chacun des qui porte une signification, Marchand offre une liste contenant les phonesthèmes de l'anglais, expliquant quels sons attribuent prolongation, vivacité, etc. Entre autres scientifiques, des linguistes ont mené des recherches : Bloomfield, Jespersen, Sapir, Firth, Jakobson, Ultan, Magnus. Tous les travaux de ces chercheurs font partie du champ énorme de la Phonosémantique, toujours ouverte à plus de recherches. Etudiés d'un point de vue contrastif entre deux ou plusieurs langues, les résultants s'avèrent de loin plus intéressants. Le but de cet article consiste à offrir des aspects sur la répétitions des sons dans Les Rêveries du promeneur solitaire de Rousseau et la manière avec laquelle certains phénomènes sont transmis en grec. C'est un truisme de soutenir que les jeux avec les sons (explicites ou implicites) s'avèrent d'une importance majeure dans une oeuvre littéraire. Nous essaierons de démontrer comment ces phénomènes sont traités en langue source et langue cible. Nous nous appuyons sur des traductions attestées, visant à une analyse approfondie des choix linguistiques faits ainsi qu'à la manière de transmission des effets esthétiques de l'original en français. Le traducteur, que fait-il afin d'inculquer les effets stylistiques aux lecteurs grecs ? Y a-t-il des cas où il est impossible de produire les mêmes effets phonosémantiques en grec ? Si tel est le cas, que fait le traducteur, afin de compenser les éventuelles pertes ?

his paper explores Gideon Toury's Descriptive Translation Studies (DTS), emphasizing how translations are shaped by cultural, ideological, and social contexts. It summarizes key concepts like translation norms and their categorization—initial, preliminary, and operational norms. Drawing on both theoretical sources and personal observations, the study includes examples from Turkish TV translation and an Iraqi case study on Arabic-English translation of Midaq Alley. The paper highlights that translation is not just linguistic transfer but a cultural act that affects meaning, structure, and audience perception.

Odia poetry has a rich heritage and a history which is several centuries old. It was seen in its most ancient form in the Charyapada, the Budhist poetry of 7 th_ 10 th century. Since Sharala Das composed the Odia Mahabharat in the 15 th century, Odia poetry has undergone various kinds of transformation through the ages. The 16 th century witnessed the Odia Bhagabata of Jagannath Das and the poetry of Bhakti tradition. In the later medieval period, Upendra Bhanja and others wrote in an idiom which, to a great extent, was influenced by Sanskrit poetics. The second half of the 19 th century ushered in the first phase of modernity into Odia poetry through the writings of Radhanath Roy and other eminent poets. During the same period, Bhima Bhoi, the saint poet, in his verses challenged the prevailing social order and gave a call for the upliftment of the down trodden. In the first two decades of the 20 th century, a lot of patriotic poetry was written by the Satyabadi group of poets, led by Gopabandhu Das, the great freedom fighter. After this period, a group of romantic poets, known as the 'Sabujas', were active for some time. The second modern phase in Odia poetry came up after independence by 1950s and since then, it has experienced significant changes along with the changing socio-cultural scenario. For discussing contemporary Odia poetry, it may be considered appropriate to choose a period of 20-25 years. Hence Odia poetry after 1990 will be the focus of discussion in this presentation. However, as a historical background, the development of Odia poetry between 1950 to1990 will be briefly put forth.

An important issue in the present-day context with respect to our classical texts is about what can be realistically done to increase general and scholarly interest in these great works. This paper addresses this question in some detail. It spells out what can be done to inform our younger generations about our glorious literary past and what can be done to inform the non-Odia readership, within the country and outside, about the richness and the inventiveness of our classical texts and the knowledge that was created in these works. It then suggests some avenues of fruitful research on these works.

This paper explores the biblical character of Judith through the lenses of beauty, faith, and divine justice, comparing how she is portrayed by the Middle English Metrical Paraphrase of the Old Testament and the King James Bible. Often dismissed in biblical history, Judith strategically weaponizes her beauty and intellect to defeat the tyrant Holofernes, reclaiming power in a patriarchal world. Both texts similarly comment on her physical and spiritual transformation before facing Holofernes, demonstrating that beauty is both a pillar of desire and a vehicle of divine intervention. The Middle English text's strong poetic imagery deepens Judith's role as a calculating, cunning heroine, in contrast to the King James Bible, which highlights her faith and her alignment with divine justice. Judith's purification at the fountain, her strategic seduction, and her eventual beheading of Holofernes are explored as acts of agency instead of submission. This paper compares the linguistic and cultural contexts to argue that Judith illustrates a revision of femininity as subversive, one that ties beauty to power and piety to rebellion. Judith becomes an enduring symbol of brave resistance, a reminder that a combination of strategic brilliance and faith has the power to take down oppressive regimes.

REVEREND LAL BEHARI DAY was a Bengali Christian missionary, professor and man of letters. His claim to literary fame lies in his two major works, “Govinda Samanta” and “Folktales of Bengal”. The principal objective of this lecture is to examine Lal Behari Day’s contribution to the study of  Bengali folklore.

Postcolonial literature has emerged as a significant field in recent decades, sparking exploration across various disciplines, notably in translation studies. Translation within the context of postcolonial literature involves assessing decisions made in the light of resistance against colonial cultural impositions. This has led to the development of postcolonial translation as a burgeoning area within translation studies. Chinua Achebe, a pivotal figure in postcolonial literature, has produced seminal works characterized by linguistic elements that challenge conventional norms, deliberately incorporating the "foreign" elements within ostensibly "fully English" texts. This essay primarily aims to examine the foreignization strategy proposed by Lawrence Venuti by comparing original texts with their Turkish translations, particularly those by Nazan Arıbaş Erbil. Through this analysis, the extent to which Erbil's translations maintain the foreignizing effect of the original texts will be explored. By scrutinizing linguistic decisions within the context of postcolonial literature and translation, this study seeks to shed light on the complexities and nuances of cross-cultural communication and the preservation of linguistic identity in translated works. Ultimately, the research aims to provide a deeper understanding of the translator's role in postcolonial literature and the implications of their decisions on cross-cultural communication and the preservation of linguistic identity in order to ensure an awareness.

This project discusses the documented history of peasant India with reference to Premchand's Godan (1936). It focuses on the colonial period of India and the plight of Indian farmers during the era. The narrative of Indian peasantry is deeply characterized by a complex traditional practices, colonial policies, and socio-cultural structures. By examining the socioeconomic conditions of the Indian peasants during the British colonial era, this project seeks to provide a comprehensive understanding of their struggles, aspirations, and resilience, as depicted in the novel. The first part of the project focuses on the historical context of Indian peasantry from the Mughal period to the late 19th and early 20th centuries under the British rule. Further, it discusses traditional the exploitative revenue policies introduced by the British, such as the Zamindari, Ryotwari, and Mahalwari systems. The project examines the consequences of these policies on the rural agricultural structure. The second part of the project will be a literary analysis of Premchand's Godan, highlighting its portrayal of the peasant's life and its socioeconomic struggles. The novel's protagonist, Hori, represents the thousands of Indian peasants, those who were suffering from the tragic saga of unfulfilled dreams, perpetual debt, and social exploitation. Through Hori's character, Premchand vividly captures the harsh realities faced by the Indian peasantry, including the exploitation by landlords (zamindars), the oppressive social hierarchy, and the indifference of the colonial authorities. The project explores how Premchand uses Hori's story to critique the broader socio-cultural structures, such as caste and patriarchy, which perpetuate the misery and subjugation of the peasantry. Furthermore, the project analyzes the symbolic significance of the cow in the novel, which epitomizes the peasants' aspirations for respectability and socioeconomic stability.

Writings on science subjects, directed at the public have been a regular feature of modern Odia literature which began taking shape during the 1850's. This article attempts to document such writings between 1850 and 1950 and to present an overview of their number, content and authors. A search through the available printed material, mostly periodicals, of this time interval yielded 765 articles which were contributed by about 100 different authors. The articles showed wide variance with respect to their length, content and style. The writings were distributed among various periodicals (672 articles), collected works (35), and two works of reference (58). The combined length of the 765 articles is about 6,00,000 words and these were supplemented with numerous illustrations and several tables. An illustrative list of 80 selected articles is given with this article along with brief summaries of their contents with a view to helping the readers appreciate their diversity. Tables giving the distribution of the articles according to the time period of publication and according to their length are included. Tabulation of authors and the number of articles written by each has been made to identify the more prolific authors.

აბსტრაქტი. ნაშრომში განხილულია სიღრმისეული სტრუქტურების თანამედროვე ინტერპრეტაციები და ავტორის საკუთარი მოსაზრებები ამ საკითხებზე. კვლევის მიზანი: მოვახერხოთ ენის, როგორც განსაზღვრული ტიპის ფორმალური მოდელის აღწერა საკუთარ მოსაზრებებზე და ჩვენი კვლევის შედეგებზე დაყრდნობით. კვლევის ამოცანები: 1.გამოიკვეთოს ის მოსაზრებები, რომელიც ამტკიცებენ, რომ ენობრივი კომპეტენციები თანდაყოლილ ხასიათს ატარებს, და გამოვლინდეს ავტორის არგუმენტირებული მოსაზრება ამ საკითხზე. 2. წარმოჩნდეს ჩვენი თვალთახედვიდან გამომდინარე გენერაციული გრამატიკის ორი დონის შესახებ არსებული თეორიების დადებითი და უარყოფითი მხარეები. 3. დადგინდეს სიღრმისეული სტრუქტურების ევოლუციის გზა. 4. გამოიკვეთოს უახლესი აღმოჩენები მეცნიერებაში გენერატიულ ლინგვისტიკასთან დაკავშირებით, რათა ჩვენ შევძლოთ სიღრმისეული სტრუქტურების თეორიის უფრო ღრმა ანალიზი და ზოგიერთი საკამათო მომენტების უფრო დეტალური შესწავლა. კვლევის მეთოდები: დესკრიპტიულ-ანალიტიკური, შედარებით-კონტრასტული, ტრანსფორმაციული, ფსიქოლინგვისტური და სხვა. კვლევის შედეგები: ამ და სხვა კვლევების შედეგებზე დაყრდნობით ჩვენ ვმუშაობთ ფსიქოლინგვისტიკის მოკლე კურსის შედგენაზე, რათა, თუ მოხერხდა, დაინერგოს თელავის სახელმწიფო უნივერსიტეტში ფსიქოლინგვისტიკის მოკლე კურსის სწავლება ენათმეცნიერების მიმართულებით. დასკვნა: დადგინდა, რომ სიღრმისეული სტრუქტურების თეორია საჭიროებს უფრო დეტალურ გადამუშავებას, რადგან ჩანს, რომ სიღრმისეული სტრუქტურებიდან ზედაპირულზე გადასვლის მექანიზმებში არის რაღაც გამოტოვებული, ანუ შესასწავლი. უნივერსალური გრამატიკის არსებობის პოსტულატი ვარაუდობს მშობლიური ენის გრამატიკის ფლობის და მეტყველებითი ჩვევების თანდაყოლილ ხასიათს.

Whenever I am to make a film, I have always felt that I have to serve three mistresses at a time: (i) my story which belongs to a certain period, (ii) my medium, cinema, to which I have my obligations and (iii) my own time which I can never escape. Each of the three demands very special attention and I know very well that I am committed to them all. (Mrinal Sen, Views on Cinema 137)

This paper is an attempt to study Jim Corbett's literary work in the light of colonial discourse.The colonial discourse creates an incorrect and dishonest doctrine and in turn damage historical, social, cultural and economic representation of the colonies.However, dissimilar to the colonial literature, Jim Corbett's writing is devoid of indifference for the Indian culture. The attraction for the magnificent and exciting India is not undermined by a sense of racial supremacy. The delineation of Hindu culture is reverent and designates a profound understanding of the life philosophy of the colonized.

Odia Bhāgabat by Atibadi Jagannath Dasa is no doubt a classic treatise and a perfect translational localization as well as summarization of the original Srimad Bhagabat Mahapurana composed by Veda Vyasa. Since its date of composition in the form of palm leaf and copper plate engraving, it is invaluable in the nook and corner of Odisha. Many of its rhymed and simple lines motivate people of all sects and categories to deal with the critical moments of life. In this context, the present paper attempts at an appreciation of the book in focusing on its contents and contexts appropriately taken from the Vedas, Vedantas, Upanishadas, and the eighteen Puranas. Additionally, it epitomizes Srikrsna bhakti tradition as outlined in Vaishnavism which is characterized by spiritual exaltation and the devotion for lord Jagannath. What's more, through its chronicling of mythological, spiritual anecdotes, it emphasizes on the moral and spiritual path to be adopted in day to day life; to plan and live a life with the best of intentions proving the worth of the muchvalued human life. While telling stories poetically in couplets of nine letters in each line uniformly, it highlights how to distinguish between illusion and reality; true and false; believe in karma and its effects; how to revere parents and treat with the best of intentions to the gurus, women and guests; to become a mystic and a rationalist to strongly believe in the presence of the creator in all beings; and accept death as the inevitable and universal phenomena. This sort of classics could be placed as one that can ignite the human cognition and equals all other world-famous classics like The Odyssey, The Divine Comedy and The Paradise Lost. The tenets of mysticism, pantheism and transcendentalism could also be traced recurrently in its epical structure.

This interview with Nuruddin Farah was recorded on 12 March 2005, during the international conference "I confini della scrittura" organized by the University of Roma "La Sapienza". The interview, now translated into English for the first time, was published in Italian in a special issue of the journal Pulp Libri in 2005 (Ahad). The interview, which was conducted in Somali, touches upon several issues regarding the writing of Nuruddin Farah. In particular, I try to explore with the writer the meaning of some very significant characteristics contained in his works, especially in the trilogy Variations on the Theme of an African Dictatorship, which comprises Sweet and Sour Milk (1979), Sardines (1981) and Close Sesame (1983). 1 These are characteristics that may be meaningless to a non-Somali reader, but that are very important Somali cultural signifiers highlighting obstacles to the affirmation of democracy in Somali society. In addition, the interview covers topics like the civil war in Somalia (1991-2000): its causes and its consequences for Somalis. This includes the plight of Somali refugees in various parts of the world, as well as a comparison with the 1970s, when the author himself decided to live in exile rather than under a military dictatorship. In this conversation with Nuruddin Farah, I give the author the opportunity to present his personal views on the political and geographical divisions amongst Somalis into autonomous entities in the Somalia of the early 2000s. Finally, almost 15 years later, I try to contextualize the conversation with subsequent developments in Somalia, in general, and, in particular, those aspects which are already covered in the interview. The interview revealed Nuruddin Farah to be highly personable, making clear that international success has not made him proud and unapproachable. Being introduced to him in person and conversing with him in Rome in his mother tongue was exceptional since most interviews with Farah are conducted in English. Although the interview was conducted in Somali, the questions were already written in Italian. Translation is always a process in which one tries to minimize the loss of both the literal and the cultural meanings of words. This depends on the translator's level of knowledge of both languages. In this case, both of us have a deep familiarity with the Italian language. Needless to say, with the Somali language too. Because of this our communication in the interview was an experience of dialogue in two languages. Italian, thanks to its standard form, had allowed for direct and precise questions to be formulated. Responses from the author in Somali, had allowed for the communicating of nuances that otherwise would not have been possible to express in another language. Indeed, the Somali responses gave a certain informality to our interview-conversation. AMA: Let us talk about the craft or the profession of writing. What it does mean today to be a writer in a globalized society, on the one hand, and a writer in a Somali society full of irremediable contradictions, deep economic differences and conflicts, on the other hand? NF: I will start by saying that the Somali people do not fully understand the value of writing and, consequently, reading. A Somali person is capable of starting to read a book today, but is unable to finish it. Many people who are able to read something, only read newspaper articles and reviews rather than books. The Somalis who do read books are the new generation-those who have had the opportunity to study and consequently have a better approach to reading. My twelve-year-old daughter, for example, has already read all my books. As a writer, my target readership is an international audience. Somalis read little, but the admirable thing is that they hold respect for Nuruddin Farah (b. 1945) is an internationally acclaimed author of Somali origin. Farah has published thirteen novels to date, as well as a non-fiction work on the Somali diaspora. He is a recognized essayist and socio-political commentator on African and global issues.

History of translation in Odia could be studied either by surveying the major translated works in Odia chronologically or by reflecting on the development of Odia literature through translation socioculturally and politically, although both the approaches are not mutually exclusive. Translation is central to the development of Odia literature like that of any modern Indian literature. If one goes through the history of Odia literature, one can find that the quantum of Odia literature is more through translation. This essay deals with the historical account of the translation into Odia.

ABSTRACT
African-American Vernacular English has been simulated in
literature through eye dialect or feigned orality at least since the
time of Mark Twain and Joel Chandler Harris, lurching between
realism, empathetic paternalism, and hostile caricature. More
recently, Black authors and filmmakers have been foregrounding
the connection between identity, speech, and code-switching, and
African-American Vernacular English is becoming increasingly
present in media. Combined with expanding global media
penetration, this trend has created a situation that translators
and subtitlers worldwide must address. Among the small body
of research on the translation of dialect/orality in Brazil, specific
analysis of African-American Vernacular English is lacking,
which is surprising, since Brazil is a major consumer of imported
American cultural products and home to the second-largest African
diaspora community in the world. Because no race-based dialects
exist in Brazilian Portuguese, three general translation strategies
have been used to represent African-American Vernacular
English: homogenizing, ruralizing, and urbanizing. Examples will
be presented of each strategy, their limitations will be discussed,
and translator justifications for their use will be explored. A recent
apparent trend away from homogenization will also be discussed.

El siguiente artículo recupera las problemáticas enunciadas en el campo de la filosofía del lenguaje respecto de la traducción, tanto interlingüística como intralingüística. El objetivo es pensar cómo las teorías, interrogantes, dilemas, paradojas y herramientas que se desarrollan en esa esfera pueden contribuir a enriquecer las investigaciones en el campo de la historia. En particular se hace hincapié en que la historia que se dedica a estudiar la producción, circulación y recepción de los lenguajes políticos y conceptos, puede renovar y expandir sus perspectivas al momento de comprender un contexto histórico con los insumos que se derivan de considerar los argumentos de la filosofía del lenguaje.
La distinción entre la traducción interlingüística e intralingüística reside el contenido, y no tanto en la forma y el proceso que subyace a la traslación de un mensaje entre lenguas y al interior de una misma lengua. Asimismo, esto abre el campo de investigaciones sobre las condiciones de posibilidad de la traducción, las áreas de los intraducibles, y la interpretación dentro de una misma lengua. Los fundamentos que cimientan estos problemas tienen una íntima relación con los interrogantes que afloran en el área de la historia intelectual.

As a technological and aesthetic phenomenon born out of the rise of modern nationalism during the 19th century, cinema has often been thought to hold strong connections to the national frameworks in which it was produced. This viewpoint is certainly justified: national film industries do operate from and in relation to their local contexts, including those pertaining to the cultural and linguistic make up of their "home audiences", even when not professing an avowed national/ist content. Concurrently, a national emphasis also tends to sideline an important dimension of cinema's being and operation: that it is a medium which is not bound by national borders. Our class will interrogate different expressions of this dimension, which have stood at the forefront of film scholarship during the past several decades: the utopian ideal of a universal "silent" film language; Hollywood Americanization and cosmopolitanism; European "Heritage Film"; "Third Cinema," "World Cinema," and resistance from the periphery; "Accented Cinema" at the service of immigration, diasporic, and exilic experiences; circles of (co-)production and (festival) distribution; aesthetic influences and world-encompassing revolutions of cinematic style; global genres and stars; remakes, dubbing/subtitling and questions of intercultural translation. Together, these foci sketch out a fresh, transnational perspective with particular relevance to our day and age, in which the concepts of nation state and national cinema are gradually eroded due to the effects of intense globalization.

This paper attempts to approach the novella The Old Man and the Sea with the view of existentialism which emerged at the time when Hemingway began to create this novella. Hemingway emphasizes the uniqueness of individuality, freedom of choice and outcome of ones action in The Old Man and the Sea and all these are the essence of Existentialism. During the time Hemingway prepared for The Old Man and the Sea, he was confronted with two factors which might have effects on his writings. One factor was that Hemingway created the story at the peak time of existentialism and the other was that he personally underwent the falling period of his life when he began to probe into the meaning in mans existence; the result of both was that the story was to some extent colored with the views of existentialism. Human life is portrayed as a struggle against the unconquerable forces of the world and it is a struggle where man is doomed to lose. But the situation has its own silver lining: man may choose to lose in such a dignified way that his defeat itself is metamorphosed into a victory. In this novel Santiago turns his defeat into victory. Hemingway portrays both the protagonist of this novella Santiago and his apprentice Manolin as individuals who prefer existence to essence. Existentialism vehemently stresses on existence rather than essence apart from this, it also stresses on individualism and all these are seen in this novel.

L’œuvre qui fait l’objet du présent mémoire est La traduction est une histoire d’amour de Jacques Poulin. Le mémoire est divisé en deux parties. La première partie est elle-même divisée en trois sections. La première section présente de manière générale l’auteur et l’œuvre. La deuxième section présente les problématiques concernant la traduction d’une œuvre québécoise en Italie. On y trouve une analyse de la littérature québécoise et de son accueil dans une culture différente. Dans la même section, on présente l’approche traductive dans sa dimension théorique en analysant deux œuvres importantes : Dire presque la même chose d’Umberto Eco et La traduction et la lettre ou l’auberge du lointain d’Antoine Berman. Ces œuvres sont importantes pour le mémoire car ces deux auteurs présentent deux approches différentes mais en même temps connexes et d’une certaine façon complémentaires. Le parti pris du présent mémoire est de trouver une voie entre les deux. Dans la même section, on analyse ...

Depuis quelques décennies, plusieurs œuvres littéraires africaines sont rendues
disponibles aux autres communautés africaines ne partageant pas la même langue
seconde que les auteurs au moyen de la traduction. Cette trouvaille, bien que
salutaire dans une Afrique malheureusement divisée par les langues européennes,
présente quelques insuffisances qui méritent réflexion. C’est l’objectif que se donne
cet article qui part de l’importance de la traduction des œuvres littéraires africaines,
souligne les difficultés rencontrées par les traducteurs de ces œuvres pour aboutir à
des propositions pour une meilleure traduction de celles-ci.

This study aims to identify the approach adopted towards translating "otherness" in postcolonial literature. To this end, Nigerian author Chimamanda Ngozi Adichie's Half of a Yellow Sun is examined, with a special emphasis on translation strategies for cultural items in the novel. In the study, "otherness" is used as a postcolonial concept to define culture-bound references. The term "culture-specific items" (CSIs) proposed by Javier Franco Aixelá (1996) is employed for cultural elements. Identification of CSIs in the novel is based on Peter Newmark's (2010) six-item classification, including the categories of ecology, public life, social life, personal life, customs and pursuits, and private passions. Several representative examples in each category are used to investigate translation procedures implemented to CSIs, which are overall examined in light of Lawrence discussion of domestication and foreignization. The procedures leading to domestication and/or foreignization are investigated through Eirlys E. Davies ' (2003) taxonomy. The analysis demonstrated a greater tendency for foreignization of the CSIs, realized particularly through the procedures of preservation and addition. Domestication strategies, specifically localization, were followed on a rather small scale in rendering non-idiomatic English expressions rather than elements specific to Nigerian culture. Overall, it can be argued that by keeping most of the CSIs untranslated, the translator strove to preserve the cultural content and foreground cultural differences and "otherness" in the novel, which is an approach in line with discussions revolving around postcolonial translation.

Michel Foucault's exploration of power and knowledge is central to his
philosophical framework. He argued that power is not simply a negative or
repressive force but rather something that permeates all levels of society and
is productive in nature. Foucault introduced the concept of "discourse" as
systems of thought that produce knowledge and regulate social practices.
Discourses are not just ways of speaking or writing but mechanisms through
which power operates. They define what is considered true or false, normal
or abnormal, thus shaping social norms and behaviours. Foucault's
conception of power and knowledge offers a nuanced understanding of how
social control operates through discourses and institutional practices, while
also providing insights into strategies of resistance and the complexities of
individual agency within power structures. His work like The Archaeology of
Knowledge and Madness and Civilization continue to influence fields ranging
from sociology and political theory to cultural studies and beyond.
Discourses regulate knowledge by determining what counts as knowledge in
a given context. They establish the boundaries of acceptable knowledge and
exclude alternative perspectives or forms of knowledge. For example,
scientific discourse defines what counts as valid scientific knowledge and
excludes non-scientific ways of understanding the world. Foucault’s concept
of discourse challenges to rethink how knowledge is produced, how power
operates through knowledge, and how individuals are constituted within
these processes. Foucault’s analysis of discourse encourages critical reflection
on how knowledge and power are intertwined.

News translation, which is often known as news transediting, which is concerned with the translation of materials for print and/or online mass media, has long stimulated interest within the field of translation studies. The present paper explores the strategies of transediting the terms used for describing the US dollar in the websites of four news channels, namely: Alarabiya, Aljazeera, BBC and CNN between Arabic and English from the first of July 2022 to the thirty-first of December 2022. The paper conducts triangulational analysis to identify the type and frequency of the transediting strategies used in each channel, present how certain examples of each strategy are adopted and demonstrate the similarities and differences in the type and frequency of the transediting strategies employed between the channels. The paper argues that the choice of the transediting strategy is based on the type of audience, context, the channel’s policy and the type of information intended for delivery. This paper offers a baseline for exploring the strategies of transediting the terms used for describing the US dollar in both Arabic and English news websites of the aforementioned channels, which may have implications for exploring other transediting strategies used in other news websites of different channels broadcast in different languages.

This essay explores the representation of unfeeling, or disaffection, in narrative form through the writer Tsitsi Dangarembga's critically acclaimed 'Tambudzai trilogy.' The narrative form I focus on is the shift in grammatical person of narration from the first person I to the second person you. The first instalment, Nervous Conditions (1988), opens with the defiant voice of its first-person narrator and protagonist, Tambudzai, but soon begins to oscillate between first and second person for self-reference. By This Mournable Body (2018), Tambu's loss of selfhood is reflected in the narrator's obstinate refusal to emerge as an 'I' at the level of discourse. I argue that Dangarembga inscribes Tambu's institutional racial othering in you-narration and that this self-estrangement parallels the mode of unfeeling that Xine Yao (2021) calls "unsympathetic Blackness." The trilogy, in line with recent work by contemporary scholars turning away from feeling towards negative feeling or the negation of feeling, unpicks the seams of a Western affective politics of sympathetic recognition.

The progress of any society depends on the indispensable contributions of women, which include their skills, enthusiasm, and cooperation. But, throughout history, women have faced oppression at the hands of men who enforced various societal norms that were unjust and restrictive. The phenomenon of women being objectified for enjoyment and practising superstitions, traditions, and cultural customs to restrict them has occurred gradually over time. The societal perception of women as objects rather than subjects is influenced by a patriarchal attitude. The degree of social progress in a society is intricately connected to the extent of gender equality in terms of healthcare, education, work, and leisure possibilities for women. Nevertheless, in Odisha, women's equal status in society has been greatly damaged by societal problems such as restricted educational opportunities, child marriage, the practice of dowry, and girl-child infanticide. Throughout history, numerous women in Odisha have demonstrated courage by speaking out against patriarchal systems. They defied all obstacles and actively promoted women's rights. This paper examines the contributions made by famous women who, through their writing, fought against patriarchal norms. They pushed for gender equality, and women's participation in socioeconomic, political, and religious arenas, and their writing contained strong expressions of defiance to patriarchal customs.

This paper examines the German translation of two novels by the Cameroonian author Ferdinand Oyono and goes against the normative approach adopted by so many critics of translations of African literary texts. It argues that if the German translation of Ferdinand Oyono is bad in the Bermanian conception, it is mainly because it is a good translation of an original text which means to be read as translation. Hence it is neither good, nor bad.

Übersetzung als Methode des Disothering: Zu einer kritischen Übersetzungstheorie. In: Lydia Schmuck; Franziska Humphreys, Anna Kinder; Douglas Pompeu (ed.), Übersetzungen im Archiv. Potenziale und Perspektiven. Göttingen: Wallstein, 2024, pp. 105-116.

It is urgent to think about reviewing our translation habits and methods. To do so, we need to get closer to post- and decolonial authors and their ideas. I believe that critical translation of a decolonial nature can help in a project that has recently been called  Disothering. At a time marked by indigenous and black genocide, we cannot ignore the relevance of this project. Debabeling and transgressing cannot fail to include the gesture of Disothering. The curator of Cameroonian origin and who works in Berlin Bonaventure Soh Bejeng Ndikung published an article in 2019 with a revealing title: “Disothering as method: Leh zo, a me ke nde za” (2019). The subtitle is a phrase in Ngemba that, trying to translate, means something like “keep yours and I'll keep mine”. Let us see how this text can be read as a proposal to review colonial translation habits.

We study efforts at promoting deliberative mini-publics as a model of democracy. Our focus is on practices supporting the circulation of know-how for doing mini-publics. In this paper we center on the building of infrastructures for knowledge exchange in and around a network known as Democracy R&D. This is a network of mini-publics practitioners from around the world with the declared goal of adding momentum to democratic innovation by enhancing translocal connections, community building, and knowledge. We look at how the network is organized, how online communication platforms are installed, and how observatory devices draw dispersed practices together into a shared frame of mutual learning and collective action. How do such practices configure the ways in which knowledge can flow across sites? How do they constitute an instrument space, a translocal assemblage of knowing and doing democracy by means of deliberative mini-publics? Using concepts like scopic media and centers of calc...

The “Kāmasūtra” was originally written by Vātsyāyana as a manual on the nature of love and matters relevant to the pleasure-oriented capacities of human life. The first translations of the text into the English language were carried out in the colonial Victorian period. It was commissioned by Sir Richard Burton, who, instead of translating it, edited it to suit Victorian sensibilities and moralities. The act of translation here inherently becomes an act of ‘epistemic violence’ as the noted postcolonial critic Gayatri Chakravorty Spivak talked of in “Can the subaltern speak?”

This ‘epistemic violence’ can be traced to how patriarchal values act as the binary of colonialism in building a discourse to oppress indigenous, female, and queer subjects, erasing their identities. Language gets subjected to universals of "progress" through imperial grammars woven into discourses of ontological determinism and epistemic fixation, perpetuating instrumental dominance, otherness, and subalternity. Noted Indologist Wendy Doniger wrote about the erasure of the voice of women in Burton’s edition: "It robs women of their voices, turning direct quotes into indirect quotes... erasing the vivid presence of the many women who speak in the Kamasutra." The agency of women in ancient India was diminished because of Burton's act of removing parts, as he deemed them suitable, from the original Kāmasūtra that acknowledged women’s agency in matters of love and intimacy.

Furthermore, there’s a clear mention of “third sexuality” (Tritiya Prakriti) in the original “Kāmasūtra,” which is mistranslated by Burton as “eunuchs.” Doniger comments on it: “Burton’s ‘eunuchs’ are, rather, the product of ‘Orientalism’: the depiction of ‘Orientals’ as simultaneously oversexed and feminized.” This paper seeks to trace the colonial erasures of the queer and women agencies in the translated Kāmasūtra, emphasizing Burton's translation as an act of ‘epistemic violence.’